Showing posts with label Across The Universe. Show all posts
Showing posts with label Across The Universe. Show all posts

Monday, 8 June 2020

Under The Influence: Elliott Smith


At what age did you realise you wanted to become a musician?
Probably five, as soon as I heard The White Album. It was pretty much my inspiration, that and AC/DC.
Elliott Smith: NME (2000)

My friends and I were just starting to teach ourselves guitar in 1980. I was 11 and really into Beatles songs like Julia and Sexy Sadie— cool, kaleidoscopic chord changes. I was totally immersed in trying to figure it all out, and it was slowly happening when some madman gunned down the guide. At first, kids at school acted like it was a hoax. It didn’t seem real at the time, and to be honest, I rarely think of John Lennon as dead. There’s too much life in his music to think of him as gone. For some reason when I think of him now, I usually picture him the way he looked and sounded during the 'hairy and scary' phase, around the time of Abbey Road. Definitely on his own trip. It’s neat when you’re a kid to see people who aren’t scared to change.

My folks were Beatles fans and supposedly played Sgt. Pepper’s for me before I was born. In junior high I thought that A Day in the Life was probably my favourite song ever. Of course, now I have many, many favourite songs, but a lot of them are still Lennon songs. For example:

I’m Only Sleeping

Most songs that bring up wanting to be left alone in some way or another don’t do it as gracefully as this one. It’s cool to express and defend your own interior space without getting all hostile about it; this song makes it seem easy. I also like the way it feels as if it’s pulling itself along with its own momentum instead of being pushed forward heavily with the kick drum.

Tomorrow Never Knows

The first line kinda says it all, really. Again, it’s like he’s describing a solid internal state you can maintain without doing battle with the outside world. Sometimes the most amazing thing to me about Lennon is that he kept a positive identity despite such a cracked upbringing and crazy fame.


Cold Turkey and Jealous Guy

Being this honest can be risky, which, of course, is an excellent idea. It’ll either be sappy or brave. Or both. He chanced it and won. Other people have to write this way all the time. Lennon had access to all floors. Didn’t he also write:

I Am the Walrus

It’s dark, complicated, funny, and popular; it rocks; and it contains the phrase “goo goo g’joob.” Lyrics all over the place. I like songs like this because they activate my imagination. Coherence is fine and all, but it’s not the measure of interesting lyrics. Sonically, this song seems to be coming from a person who just busted out of incarceration somewhere.

Across the Universe

This song is fluid and musical in a way that, to me, overarches all the cultural and political commentary that surrounds his life. A really cool song can sometimes make a dream and reality trade places, maybe for the better.
Elliott Smith: SPIN (Jan 2001)




Five Beatles Cover Version by Elliott Smith


Friday, 28 March 2014

Under The Influence: Joe Satriani


[Across The Universe is] such a beautiful song, and it captures the naiveté of the time. Lennon was so talented in that he could be the funniest, the snidest, and yet ultimately the most poignant guy in the band. Often you find that when the joker in the crowd finally says something serious, it’s far more profound than what the so-called "serious" guys come up with. 

Lava Magazine

John Lennon's fuzzed out guitar playing on the Revolution single is one of my favourite guitar performances. He had a raw and muscular way of playing with distortion that I always found to be unique. David Bowie's Fame features John playing in that way, and it makes the track swing for me. 

His rhythm guitar playing was always spot on, with lots of feel and groove. His knowledge of chords and how to use harmony creatively was evident throughout both The Beatles catalogue and his own. These days ‘Lennonesque’ is a term one could use to describe how using diminished and augmented chords to bring a chord sequence to a higher level. All in all, John Lennon was really a superb player.

Music Radar

Joe started playing drums aged nine after seeing The Beatles on TV. In Sep 1970 he switched to guitar on the day Jimi Hendrix died.

Thursday, 28 June 2012

11:19 Let It Be Conclusions




In conclusion...well I've said a lot about this album before and I stand by it. Let It Be is the worst Beatles album by far. Worse than the youthful inexperience of Please Please Me, the road weariness of Beatles For Sale or the occasional bloated excess of The White Album. There is simply nothing that comes close.

13 songs.

Two which don't belong in this era  - Across The Universe (pre White Album) and I Me Mine (post Abbey Road). One oldie that predates Please Please Me. One half finished cover. One jamming soundbite that doesn't even deserve the title of 'song'. And yet in the midst of the dross there are three stone cold McCartney classics – Let It Be, Get Back and The Long And Winding Road (yes I know you hate it – join the back of the queue).

Why did Let It Be turn out so bad? Sure, the Beatles were breaking up acrimoniously, emotionally, business wise, but if that was the whole story Abbey Road should have been even worse. That Abbey Road was a triumph is due to George Martin (may his name be forever praised).

In addition to all the reasons for it being a flop listed in Blessed Are The Mundane, I would say that deciding the album had to be a 'soundtrack' meant the band effectively delegated picking the songs to the film director. But tying in with the film is the only reason Across The Universe made it onto the album and it's the only reason I Me Mine was recorded at all. So what do I know?

I know this. Blogging through Let It Be has been like swimming through treacle at times. I'm so glad that in switching to reverse chronological order I didn't leave the album till last. Talk about finishing on a downer!

So I promise you, though there will be dark days ahead (I'm looking at you Revolution No 9 and Ob-La-Di Ob-La-Da) we have walked through the valley of the shadow of dreck and from now on there are only rainbows and free kebabs for everyone!!!


Friday, 16 March 2012

Under The Influence: Gene Simmons (Kiss) 


I’m a child of The Beatles. They created this sort of hybrid white version of American music. They could do it all - Little Richard, country, pop, soul, psychedelia. They had no rules. That had a major effect on me.
Gene Simmons.com

Seeing them on TV, on the Ed Sullivan Show … was like a combination of religion and music and I don't know what else. The clocked stopped for me; everything stopped. It was like in the movie 2001: A Space Odyssey, when the apes went up to the monolith and touched it: a quantum leap forward. All of a sudden I understood what my fate was, what I had to do.
Guitar World (Jan 1996)

There is no way I’d be doing what I do now if it wasn’t for the Beatles … It blew me away that these four boys [from] the middle of nowhere could make that music.
CBS News.com

It's been said many times before, but I'll say it again: Kiss wanted to be the American Beatles. All those other British bands – the Stones, the Small Faces, The Kinks – were all fantastic obviously, but The Beatles were the motherlode. Two guitars, a bass and a drum. They made it all look so simple. And it was – for them. The rest of us have just been playing catch-up ever since.
Classic Rock magazine

The Beatles were a big slice of our lives, and [Across The Universe] is one of the most hauntingly lilting songs I’ve ever heard. I don’t know what it means to this day, but I don’t care. The song works as word imagery. Lennon sings this half-tone movement back and forth repeatedly; it’s like the two-note theme from Jaws. Lennon did that in a lot in his songs, including I Am The Walrus. It’s very unusual, but effective.
Lava Magazine

Monday, 10 October 2011

She Said She Said (10 Beatles Songs Featuring Female Vocalists)


(this post has been updated Nov 15, 2011)


I would never have female voices on a Beatles record 
– Paul McCartney (Many Years From Now p.575)

...apart from Marianne Faithful, all our wives, 2 fans, 1 girlfriend, 2 choirs and an orchestra...

More than any other song The Long And Winding Road epitomises the whole clash of vision, and lack of reality that killed the Let It Be album. Before we take a closer look, let's dispel one of the arguments Paul had for why he hated the recording. He claimed that female vocals were somehow anathema to the Beatles sound. However there are nine other songs where he was quite happy to include the ladies...

1) 14 voice female choir - The Long And Winding Road

This is the one that provoked Paul's odd comment, glacial operatic oohs and ahhs. lady style mushiness to the power of 14.

2) Linda McCartney - Let It Be

The lovely Linda join Paul and George for overdubbed oohs on a song inspired by a dream about Paul's mother.

3) 14 voice female choir (Spector version) Lizzie Bravo & Gayleen Pease (Wildlife version)  - Across The Universe 

The same set up as The Long And Winding Road didn't annoy Paul as much, presumably because Across The Universe was an old Lennon 'b side' rather than a new McCartney ballad. On the original version Lizzie & Gayleen became probably the most famous Beatles fans (after Charles Manson) after they were plucked from their vigil at the Abbey Road gates to contribute some childishly squeaky vocals to the chorus (which Spector wisely deleted). 


4) Yoko Ono & Maureen Starkey - The Continuing Story Of Bungalow Bill

Not only do a wife and future wife contribute BVs, but Yoko sings one line of lead vocals “Not when he looks so fierce”. Lennon follows this with “...his Mummy butted in”. Feel free to discuss any irony in the statement “his Mummy butted in” in the comments section.

5) Pattie Harrison & Yoko Ono - Birthday

Another wife duet on McCartney's written in the studio rocker.

6) Members of Session Orchestra - Hey Jude

The 36 classical musicians booked for this session famously became the knights who sing “Na” after the Beatles doubled their rates in exchange for backing vocals on the longest fade out in history.

7) The Mike Sammes Singers – Goodnight

The middle of the road vocal group add some gooey love mush to Lennon's song for Julian. This time Phil Spector has an alibi, being 3000 miles away from Abbey Road at the time. I accuse George Martin in the studio with the lead piping.

8) The Mike Sammes Singers - I Am The Walrus

George Martin employs one of the UK top vocal groups. Lennon gets them to sing “Everybody's got one” and “Umpah Umpah, stick it up your jumper”

9) Marianne Faithful, Pattie Harrison & Jane Asher - All You Need Is Love

Joining everyone and his brother in the studio for the live TV broadcast before 400 million viewers. Keith Moon played hi hat.

10) Marianne Faithful & Pattie Harrison - Yellow Submarine

The first sighting of women in the Beatles Boys club. This means that the most recorded woman on the Beatles songs is – Pattie Harrison!

Next time I'll try to unpack why everyone hates The Long And Winding Road.


Wednesday, 14 September 2011

The Best Of Let It Be (pt.1) - I Me Mine and Across The Universe





Though there are officially released alternative versions of every Beatles album floating about (mono vs stereo, UK vs US, remastered vs erm … mastered) Let It Be is in a class of it's own. Versions of these songs crop up on Let It Be, Let It Be Naked, Anthology 1, 2 & 3, Past Masters and '1'. As well as the obvious 'Spectorizing' (massive overdubbing by session musicians) some versions of the same songs are built on completely different takes. Though I'm going to be analysing the songs in true Beatles Songwriting Academy fashion, I thought it might be helpful to give you a rough guide to the various versions.

As I've already analysed I Me Mine and won't get to Across The Universe till 'Magical Mystery Submarine' (which is where it belongs chronologically) let's get those two over with now.

I Me Mine

LIB – Spector's version is a little dull sonically, especially the bass. The wall of sound is pretty low in the mix so it doesn't add much, good or bad. Spector lengthened the track by 50 seconds by literally copying a section and repeating it.

LIBN – Sharper sonically. All the Spector overdubs are removed. However, the Beatles had already added their own multiple overdubs (McCartney's organ & electric piano, Harrison's twin acoustic/electric lead fills) and these are retained as are the extra 50 seconds.

A3 – As LIBN but without the extra 50 seconds (so the structure is literally intro-verse-chorus-verse). It also adds George's humorous spoken intro, referring to Lennon as 'Dave Dee'.

If 'Naked' is a euphemism for 'deSpectorized', then Anthology is the true version. But it's so short!

Best Version: Let It Be Naked






Working with the Beatles took it's toll on George Martin...


Across The Universe

PM – The first released version appeared on a WWF fundraising album (to benefit animals, not wrestlers - hence the added animal sound FX) and is often referred to as the 'wildlife version'. It features a couple of female fans (who had been dragged in from their studio gate vigil) doubling Lennon's vocals on the chorus, BVs by the Beatles (answering ahhs on the chorus) some quite loud maracas and wah wah chords. The fastest version (sped up almost a semitone to D#) but also the longest, due to 20 seconds of FX on intro. Effects on vocals, guitar and tambura.

LIB – Spector slowed the track down, lowering the pitch a semitone to C#, added strings (18 violins, 4 violas, 4 cellos), 14 voice choir, (“Disney strings & lullaby voices” McDonald p.227) harp, brass & drum overdubs. There were also 2 guitarists booked for this session! Glyn Johns had already removed all the original sound FX and BVs (both the fans and The Beatles). Heavy phasing on Lennon's vocals and a noticeable edit just before the outro.

LIBN – Much clearer sonically and in the original key of D. No Spector overdubs, BVs, or maracas and the tambura comes in later. There is no noticeable phasing on the track itself till much later. Fades out without the little piano riff.

A2 – Much faster but still in original key (no varispeed). A completely different take. With the possible exception of bass, this sound like an entirely unplugged version. Phasing on the rhythm guitar from halfway through the first verse. Weird chiming instrument, Indian sounding slide guitar. No BV's.

The guest vocals on PM aren't great and it's just sounds too fast. The tempo particularly gives a manic edge to the wah wah and tambura. And on LIBN the track becomes a tambura solo with a Beatles accompaniment. The unplugged version on A2 is a really cool bonus track, but the Richard Hewson arrangement on LIB actually lifts quite a plodding dronefest and Johns/Spector rein in the worst parts of the PM version – frantic tempo, bad BVs, and that darn tambura!

Best Version: Let It Be



...but he got off lightly compared to Phil Spector !


abbreviations

LIB - Let It Be
LIBN - Let It Be Naked
A1 - Anthology 1
A2 - Anthology 2
A3 - Anthology 3
PM - Past Masters
B1 '1' aka Beatles Number Ones



  

Wednesday, 2 June 2010

The Minor 4 Chord (pt.4)


From the m2 to the m4

(Read part one here)

This a very Lennon change – he used the exact same progression three times to great effect, most famously in

Nowhere Man

Em Making all his Gm Nowhere plans for D nobody
(and all the other lines that end the verses)

(ii, iv, I)

It also crops up in the verses of

Across The Universe

Po- Em -ssessing and ca- Gm -ressing me. D Jai…
In- Em -citing and in- Gm -viting me. D Limitless…

(ii, iv, I)

and With The Beatles track

All I’ve Got to Do

F#m Call you on the phone
& you’ll come running home
Yeah
Am that’s all I E gotta do.

(ii, iv, I)


Other songs

The progression dates back to the first album where it made an appearance on Do You Want To Know A Secret, in the verse just after “Do you promise not to tell”

G#m Gm Woh F#m oh Am oh E Closer…

(iii, biii, ii, iv/bVI, I)

McCartney plays a C under the Am making it sound even more complex than it already is.

He covers his tracks in a similar way (on piano this time) on the intro to Honey Pie. Instead of playing Am - Cm - G (which would be Nowhere Man transposed) he plays Am/D - Cm – G.

Em She A6 was a Am/D working girl Cm north of England G way

(vi, II, ii/V, iv, I)

As well as appearing in the verse of You Won’t See Me the bridge has the following progression


Bm Time after Dm time you re- D dim fuse to even A listen

ii, iv, iv dim, I (key of A)

A final alteration comes from the chorus of She Loves You (also in the key of G) where, instead of approaching the iv (Cm) from the ‘in key’ Am he uses a major (A7).

She Em loves you yeah, yeah, yeah
She A7 loves you yeah, yeah, yeah
With a Cm love like that
You D7 know you should be G glad

(vi, II, iv, V, I)

Try using this chord pattern in your songwriting. here's the progression in some common keys (the last chord is the root). Keep 'em in your songwriting tool box...

Em - Gm - D
Bm - Dm - A
F#m - Am - E
Dm - Fm - C
Am - Cm - G


1: Introduction
2: Major 4 to minor 4
3: Minor 6 to minor 4
4: Minor 2 to minor 4
5: 1 to minor 4